【コラム】タージ・マハル旅行団と小杉武久 ― 音を解き放つ旅の軌跡

Column en 70s Art Avant-Garde Experimental

01 Nov 2025

I. Starting point in the 1960s: Beyond musical institutions

Text: mmr｜Theme: A sonic pilgrimage where improvisation and environmental sounds intertwine - A record of a journey to the outside of music, drawn by Takehisa Kosugi and the Taj Mahal Travel Group

In the early 1960s, Japan’s avant-garde music scene was quietly flourishing. Centered around the Experimental Workshop and Sogetsu Art Center led by Toru Takemitsu, Kei Ichiyanagi, and Joji Yuasa, the boundaries between genres such as music, dance, video, and lighting were being broken down.

During this period, Takehisa Kosugi was studying violin at Tokyo University of the Arts, but he was beginning to feel the limits of traditional musical forms.He began to see sound as an event'' rather than astructure,’’ and eventually began to explore improvisation and chance.

“Sound begins to live when it is separated from the will of the performer.” — Takehisa Kosugi

II. “Collective Music” and the encounter with John Cage (1964)

In 1964, Kosugi formed Collective Music with Toru Takemitsu and Kei Ichiyanagi. In the same year, he performed with John Cage and David Tudor when the Merce Cunningham Dance Company visited Japan for the first time. This event marked a decisive turning point in the history of Japanese avant-garde music.

The ideas of coincidence'' andunintentionality’’ presented by Cage had a deep impact on Kosugi. Rather than having the performer “control” the sound, how do we create a state in which the sound “appears” naturally? This question became the theme of Kosugi’s life.

III. The Art of Resonance and Action with Fluxus (1965–1969)

In the mid-1960s, Kosugi became close to the international avant-garde movement ``Fluxus’’ and stepped into the realm of performance and happenings. The act of converting everyday objects into sound sources and dismantling the framework of time and space fundamentally shook the conventional view of music.

As seen in his masterpieces “Music Expanded #2” and “Catch-Wave”, Kosugi turned the ``body that performs’’ itself into a piece of work, attempting to record the moment when the sound occurred.

This trend had a direct influence on later sound art'',environmental music’’, and ``acoustic improvisation’’.

IV. Formation of the Taj Mahal Travel Group (1969–1970)

In 1969, Kosugi formed the Taj Mahal Travelers as a new experimental subject. Seiji Nagai, Takashi Iijima, Masaaki Kikuchi (later left) and others joined the group. Using violin, cello, electronic equipment, brass, voice, radio waves, etc. He put into practice the philosophy that ``the place itself becomes an instrument.’’

V. Traveling through sound: From India to Europe (1971–1972)

In 1971, the Taj Mahal Tour Group departs for a tour of Europe. Their journey was not just a tour, but a ``sound pilgrimage.’’ Outdoors, with no power source or stage, the performance improvised and resonated with the wind, water, crowd, and radio waves.

Itinerary (Mermaid map)

flowchart TD A["Tokyo, Japan"] --> B["Delhi, India"] B --> C["Taj Mahal, Agra"] C --> D["Tehran, Iran"] D --> E["Ankara, Turkey"] E --> F["Istanbul, Turkey"] F --> G["Vienna, Austria"] G --> H["Berlin, Germany"] H --> I["Amsterdam, Netherlands"] I --> J["Copenhagen, Denmark"] J --> K["Stockholm, Sweden"] K --> L["London, UK"]

Note: This itinerary is an approximate route based on actual records and testimonies. Improvisational performances in various locations ranged from local cultural facilities, outdoors, to bases for student movements.

VI. Deconstruction and expansion of sound: the ritual of improvisation

The Taj Mahal Tourists’ performances do not have the usual songs'' orstructure.’’ Rather, it is more like the act of emitting sound into the environment and waiting for a chance resonance.

They use PA systems and microphones creatively, The entire space was treated as a kind of “resonator.” Kosugi, the leader, attaches a contact microphone to the violin and manipulates the feedback and radio noise while playing. We have created an ecosystem in which sound “occurs and disappears.”

VII. Record of 《Taj Mahal Travelers – July 15, 1972》

The pinnacle of their activities was the album released in 1972. “Taj Mahal Travelers – July 15, 1972” (CBS/Sony). This is a live recording of an improvisational performance held around the Taj Mahal in Agra. It is highly praised as a ``soundscape’’ that perfectly combines time, space, and sound.

There is no rhythm or melody on the album. Instead, the sound of wind, electronic sounds, voices, and the resonance of strings gently intersect, It presents an experience that invites the listener to go “inside the sound.”

VIII. Overseas activities and “Catch-Wave” (1975)

After staying in Europe, Kosugi moved to the United States in the mid-1970s. Develops solo activities that combine electronic acoustics and improvisation. His 1975 masterpiece “Catch-Wave” (EM Records reissue) is This is a soundscape piece that makes full use of violin, tape delay, and feedback. He also influenced Brian Eno and Robert Ashley.

IX. Activities and evaluation in later years

Since the 1980s, Kosugi has served as music director of the Merce Cunningham Dance Company. While inheriting the philosophy of John Cage, he deepened the integration of dance and sound. Until his later years, based on his belief that “sound is a natural phenomenon,” he continued to create expressions that drifted between improvisation, environment, and silence.

X. The legacy of Takehisa Kosugi and the Taj Mahal Tourist Group

Today, their activities include “sound art,” “field recording,” and “ambient music.” It is being reevaluated as the source of diverse musical trends. An attitude of listening to sound as a phenomenon'' rather thanmaterial’’ or ``information.’’ This is the most important message that Kosugi left us.

Chronology

Year	Events
1938	Born in Yokohama City, Kanagawa Prefecture
1960	Graduated from the Faculty of Music, Tokyo University of the Arts
1961–63	Participated in avant-garde experimental music activities with Kei Ichiyanagi, Toru Takemitsu, and others
1964	``Collective Music’’ formed, performed with Cage & Tudor
1965–68	Fluxus-like performances (Sogetsu Art Center, etc.)
1969	“Taj Mahal Travel Group” formed
1971–72	Musical pilgrimage from India to Europe
1972	《Taj Mahal Travelers – July 15, 1972》 Announcement
1975	Solo work “Catch-Wave” released
1977–90s	Merce Cunningham Dance Company Music Director
2018	Passed away.Passed away at the age of 80.

Discography (main works)

Title	Year	Link
Taj Mahal Travelers – July 15, 1972	1972	Amazon
Taj Mahal Travelers – August, 1974	1974	Amazon
Catch-Wave	1975	Amazon

Conclusion - freedom of sound and prayer

The Taj Mahal tour group’s trip was not just a ``band’s overseas performance.’’ It was a spiritual journey that transcended the institution of music and resonated with the world.

“We are travelers, not performers.” ― Takehisa Kosugi

Even now, half a century later, the sounds they emitted still resonate. It continues to vibrate quietly in the air, in the memories, and deep in the hearts of the listeners.